Rehearsing
A worthy play which is well cast is an assured success before its first rehearsal.
The entire group should first study the whole play under the director's comment. It is best to have each actor read his own part. The behavior of a minor character in the second act may depend upon a speech in the first. The person playing that rôle must seize upon that hint for his own interpretation.
It might be a good thing to have every person "letter perfect," that is, know all his speeches, at the first rehearsal. Practically, this never occurs. Reading from the book or the manuscript, a performer "walks through" his part, getting at the same time an idea of where he is to stand, how to move, how to speak, what to do, where to enter, when to cross the stage. All such directions he should jot down upon his part. Then memorizing the lines will fix these stage directions in his mind. He will be assimilating at the same time lines and "business." "Business" on the stage is everything done by a character except speaking lines.
"It is best to have each actor read his own part."
At all rehearsals the director is in absolute charge. His word is final law. This does not mean that members of the cast may not discuss things with him, and suggest details and additions. They must be careful to choose a proper time to do such things. They should never argue, but follow directions. Time outside rehearsals may be devoted to clearing up points. Of course an actor should never lose his temper. Neither should the director. Both of these bits of advice are frequently almost beyond observation of living human beings. Yet they are the rules.
Rehearsals should be frequent rather than long. Acts should be rehearsed separately. Frequently only separate portions should be repeated. Combinations should be made so as not to keep during long waits characters with only a few words. Early portions will have to be repeated more frequently than later ones to allow the actors to get into their characterizations. Tense, romantic, sentimental, comic scenes may have to be rehearsed privately until they are quite good enough to interest other members of the cast.
The time for preparation will depend upon general ability of the cast, previous training, the kind of play, the amount of leisure for study and rehearsing. In most schools a full-length play may be crowded into four weeks. Six or seven weeks are a better allowance.
During first rehearsals changes and corrections should be made when needed. Interruptions should be frequent. Later there should be no interruptions. Comments should be made at the end of a scene and embodied in an immediate repetition to fix the change in the actors' minds. Other modifications should be announced before rehearsal, and embodied in the acting that day.
"Tense, romantic, sentimental, comic scenes may have to be rehearsed privately until they are quite good enough to interest other members of the cast."
The acting should be ready for an audience a week before the date set for the performance. During the last rehearsals, early acts should be recalled and repeated in connection with later ones, so that time and endurance may be counted and estimated. During these days rehearsals must go forward without any attention from the director. He must be giving all his attention to setting, lighting, costumes, properties, furniture, and the thousand and one other details which make play producing the discouraging yet fascinating occupation it is.
Such repetition without constant direction will develop a sense of independence and coöperation in the actors and assistants which will show in the enthusiasm and ease of the performance. Stage hands and all other assistants must be trained to the same degree of reliability as the hero and heroine. Nothing can be left to chance. Nothing can be unprovided until the last minute. The dress rehearsal must be exactly like a performance, except that the audience is not present, or if present, is a different one. In schools, an audience at the dress rehearsal is usually a help to the amateur performers.

